See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

LIST OF  See also:

• WAGNER, ADOLF (1835- )
• WAGNER, RUDOLPH (1805-1864)
• WAGNER, WILHELM RICHARD (1813-1883)

WAGNER'S See also:

• WORKS

WORKS The following are Wagner's operas and See also:

• MUSIC

music-dramas, apart from the unpublished See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

Die Hochzeit (three See also:

• NUMBERS, BOOK OF
• NUMBERS, PARTITION OF

numbers only), Die Feen, and Das Liebesverbot (Das Liebesverbot was disinterred in 1910) . 1 . See also:

• RIENZI, COLA DI (c. 1313–1354)

Rienzi, der letzte der Tribunen: See also:

• GROSSE, JULIUS WALDEMAR (1828—1902)

grosse tragische Oper; 5 acts (1838-1840) . 2 . Der fliegende Hollander: romantische Oper; I See also:

• ACT (Lat. actus, actum)

act, afterwards cut into 3 (1641) . 3 . Tannhduser and der Sangerkrieg auf See also:

• WARTBURG, THE

Wartburg: romantische Oper; 3 acts (libretto, 1843; music, 1844-1845; new Venusberg music, 186o-1861) . 4 . See also:

• LOHENGRIN

Lohengrin: romantische Oper; 3 acts (libretto, 1845; music, 1846-1848) . This is the last See also:

• WORK

work Wagner calls by the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of See also:

• OPERA (Italian for " work ")

Opera . 5 . Das Rheingold, See also:

• PROLOGUE (from Gr. 7rpo, before, and Myer, a word)

prologue in 4 scenes to Der See also:

• RING (O.E. hring; a word common to Teutonic languages; and probably cognate with the Lat. circus, Gr. KtpKOS or KpLKOS, Skt'. chakra, wheel, circle, cf. also " harangue "); in art, a band of circular shape of varying sizes, made of any material and used f

Ring See also:

• DES

des Nibelungen; ein Biihnenfestspiel (poem written last of the See also:

• SERIES (a Latin word from serere, to join)

series, which was begun in 1848 and finished in 1851-1852; music, 1853-1854)• 6 .

Die Walkiire: der Ring des Nibelungen, erster Tag; 3 acts (See also:

• SCORE (O.E. scor, from sceran, to cut, notch, cf. " shear ")

score finished, 1856) . 7 . See also:

• TRISTAN
• TRISTAN, or TRISTRAM

Tristan and Isolde; 3 acts (poem written in 1857; music, 18J7-1859) . 8 . Siegfried: der Ring des Nibelungen, zweiter Tag; 3 acts, the first two nearly finished before Tristan, the See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest between 1865 and 1869 . 9 . Die ,See also:

• MEISTERSINGER (Ger. for " master-singer ")

Meistersinger von Nurnberg; 3 acts (See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch of See also:

• PLAY

play, 1845; poem, 1861-1862; music, 1862-1867) . 10 . Gotterdammerung: der Ring des Nibelungen, driller Tag; introduction and 3 acts (Siegfried '.r See also:

• TOD, JAMES (1782-1835)

Tod already sketched dramatically in 1848; music, 187o-1874) . 11 . See also:

• PARSIFAL

Parsifal: ein Buhnenweihfestspiel (a See also:

• SOLEMN (Lat. sollemnis, sollemnis, less correctly solennis, yearly, annual; from sollus = totus, whole, entire, Gr. Mos., and annus, year)

solemn See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage festival play), 3 acts (poem, 1876-1877; music, 1877-1882, Charfreitagszaaber already sketched in 1857) . As regards other compositions, the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early unpublished works include a See also:

• SYMPHONY

symphony, a See also:

• CANTATA (Italian for a song or story set to music)

cantata, some incidental music to a See also:

• PANTOMIME

pantomime, and several overtures, four of which have recently been discovered and produced .

The important small published works are Eine See also:

• FAUST, or FAUSTUS

Faust See also:

• OVERTURE (Fr. ouverture, opening)

Overture (18J9-184o; rewritten, 1855); the Siegfried Idylle (an exquisite See also:

• SERENADE (from Ital. serenata, Lat. serenus, bright; the Italian term being applied, partly by confusion with serus, late, and partly through the use of Serena—cf. Gr. ve?i7vri—as an epithet for the moon, to a form of courting music played at night in the

serenade for small See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra on themes from the See also:

• FINALE (Ital. for " end ")

finale of Siegfried, written as a surprise for Frau Wagner in 1870); the Kaiscrmarsch (1871), the Hufdigungsmarsch (1864) for military See also:

• BAND

band (the scoring of the See also:

• CONCERT (through the French from Lat. con-, with, and certare, to strive)

concert-version finished by See also:

• RAFF, JOSEPH JOACHIM (1822-1882)

Raff); Fiinf Gediclrte (1862). a set of songs containing two studies for Tristan; and the early quasi-See also:

• ORATORIO

oratorio See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene for male-See also:

• VOICE (Fr. voix, from Lat. vox)

voice See also:

• CHORUS (Gr. xopbs)Z

chorus and full orchestra, Das Liebesmahl der Apastel (1843) . Wagner's retouching of See also:

• GLUCK

Gluck's Iphigenie en Aulide and his edition of See also:

• PALESTRINA, GIOVANNI PIERLUIGI DA (1526-1594)

Palestrina's Stabat Muter demand mention as important services to music, by no means to he classified (as in some catalogues) with the hack-work with which he kept off See also:

• STARVATION

starvation in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris . The collected See also:

• LITERARY

literary works of Wagner in See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German fill ten volumes, and include See also:

• POLITICAL

political speeches, sketches for dramas that did not become operas, autobiographical chapters, aesthetic musical See also:

• TREATISES

treatises and polemics of vitriolic violence . Their importance will never be comparable to that of his music; but, just as the reaction against See also:

• RUSKIN, JOHN (1819-1goo)

Ruskin's ascendancy as an See also:

• ART

art-critic has coincided with an increased respect for his ethical and sociological thought, so the rebellious forces that are compelling Wagnerism, to See also:

• GRANT (from A.-Fr. graunter, O. Fr. greanter for creanter, popular Lat. creantare, for credentare, to entrust, Lat. credere, to believe, trust)
• GRANT, ANNE (1755-1838)
• GRANT, CHARLES (1746-1823)
• GRANT, GEORGE MONRO (1835–1902)
• GRANT, JAMES (1822–1887)
• GRANT, JAMES AUGUSTUS (1827–1892)
• GRANT, ROBERT (1814-1892)
• GRANT, SIR ALEXANDER
• GRANT, SIR FRANCIS (1803-1878)
• GRANT, SIR JAMES HOPE (1808–1895)
• GRANT, SIR PATRICK (1804-1895)
• GRANT, U
• GRANT, ULYSSES SIMPSON (1822-1885)

grant music a constitution coincide with a growing admiration of his See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general See also:

• MENTAL

mental See also:

• POWERS, HIRAM (1805-1873)

powers . The See also:

• PROSE

prose works have been translated into See also:

• ENGLISH

English by W . A . See also:

• ELLIS (originally SHARPE), ALEXANDER JOHN (1814-189o)
• ELLIS, GEORGE (1753-1815)
• ELLIS, ROBINSON (1834- )
• ELLIS, SIR HENRY (1777-1869)
• ELLIS, WILLIAM (1794 – 1872)

Ellis (8 vols., 1892-1899) . The See also:

• TRANSLATION

translation by F . See also:

• JAMESON (or JAMESONE), GEORGE (c. 1587–1644)
• JAMESON, ANNA BROWNELL (1794-1860)
• JAMESON, LEANDER STARR (1853– )
• JAMESON, ROBERT (1774-1854)

Jameson (1897) of the See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

text of the Ring (first published in the See also:

• POCKET

pocket edition of the full scores) is the most wonderful tour de force yet achieved in its See also:

• LINE

line . A careful See also:

• READING

reading of the score to this English text reveals nor a single false emphasis or loss of rhetorical point in the fitting of words to notes, nor a single extra See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note or See also:

• HALT

halt in the music; and wherever the See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language seems See also:

• STILTED

stilted or absurd the See also:

• ORIGINAL

original will be found to be at least equally so, while the spirit of Wagner's See also:

• POETRY

poetry is faithfully reflected . Such work deserves more recognition thanit is ever likely to get . Rapidly as the See also:

• STANDARD
• STANDARD, BATTLE OF THE

standard of musical See also:

• TRANSLATIONS

translations was improving before this work appeared, no one could have foreseen what has now been abundantly verified, that the Ring can be performed in English without any appreciable loss to Wagner's art .

The same translator has also published a See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close, purely literary version . See also See also:

• ARIA (Ital. for " air ")

ARIA, See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

HARMONY, See also:

• INSTRUMENTATION

INSTRUMENTATION, MUSIC, OPERA, and OVERTURE . (D . F .